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Phil Douglis | all galleries >> Galleries >> Gallery Seven: Making time count > At Prayer, Vientiane, Laos, 2005
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At Prayer, Vientiane, Laos, 2005

Surrounded by offerings that she and others have carried to this temple, a woman bows again and again at the conclusion of her prayers. The room was dark, which mean using a very slow shutter speed, in this case 1/6th of a second. A tripod is out of the question – as part of a tour group, I am moving and shooting at a pace that simply will not allow such time-consuming tools. I never use a flash either. I find it intrusive, harsh, and unnatural looking. I did not increase the ISO because I did not feel it was necessary. Given the self-imposed limitations of my decisions, I still must try to make the most stable images I can with hand held exposures. My Panasonic FZ-20 has image stabilization, which gives me the same kind of stabilization here that I could expect if I was shooting at 1/25th of a second. My goal is to keep the surroundings sharp, yet also express the devotion of this woman by blurring her as she bows deeply, again and again. I achieved this goal in this image – the woman seems to flow through space as she moves her body back and forth, yet the flowers, candles, tiles, and even her purse on the floor next to her remain sharp. To do this, I cradled the camera in my palm and gently applied pressure to the shutter button. I never pushed it, simply squeezed it.


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Phil Douglis19-Jan-2008 03:51
You are right, Vera. The creative process requires freedom from precedent. All creative accomplishments owe much to spontaneous instinct. How can we use our spontaneous instincts if we are locked into a rigid belief system, such as "all pictures have to be sharp?"
Guest 19-Dec-2007 13:27
Once we let ourselves go from believing that a photo has to be sharp in every little corner, every little piece, we open ourselves up to another world of possibilities as you have done here.
Vera
Phil Douglis25-Jul-2006 17:46
You are right, Jenene - this is an intimate, deeply personal moment, yet all of us are sharing it with her through my camera. I often feel initially invasive as I shoot such subjects as this, but then I realize what you have summed up so well here. If someone is lost in prayer, I am invisible to them, as are all the other worshippers and onlookers. If she wanted to pray in privacy, she would not be here in this public place. Thanks for bringing up this issue. Each of us, as photographers, must feel comfortable with our subject matter. If we are not, we should put our cameras away until we are.
JSWaters25-Jul-2006 15:04
The extreme blur in the image is the most essential piece of the expression. You have managed to take a photograph of a worshipper, praying in complete indifference to the group of tourists who are around her. She, through her intense prayer, has elevated herself to a place where she communes with her God, undisturbed by anything in the physical world around her. I feel as if we are being very invasive here, but that she has totally transcended the intrusion.
Jenene
Guest 28-Sep-2005 22:43
I do not know how much I like this picture, but I certainly love its description.
Phil Douglis17-May-2005 00:17
Thanks, Lizzie, for posting this heartfelt comment. It is not often that a viewer writes to me out of the blue to tell me how much an image means to her, and why. I am sure the memory of your healing journey will last a lifetime, and am delighted that you feel this image rekindles that experience within your mind. I always hope my photographs can trigger the imaginations of my viewers, but so much depends upon the contexts they are able to bring to them. How can it be that at one extreme my friend Monique Jansen finds this image "without appeal," while you see it as "memory, reminder and celebration?" You are both looking at the same image, right? The answer, of course, is context -- the very things that may trigger intense emotions within you, go unrecognized by Monique. Neither of you are right or wrong. There is no one way to interpret an expressive image. We all have different expectations, tastes, experiences and knowledge -- in other words, we all see images with widely differing contexts. The lesson you have left with us here, Lizzie, is very important. Expressive photographers make images for individuals, not for mass audiences. They plant the seeds of an idea in the minds of their viewers, and simply let each viewer take it from there as best they can. You took this one a long, long, way. Thank you.
Lizzie 16-May-2005 20:19
Phil, this photo is a hauntingly beautiful image. You have captured the intense intimacy of prayer in a way I have not seen before. When I saw this photo I was immediately taken back to an Ayahuasca journey I shared with two other women several years age; an experience for which words have always been inadequate as a means of conveying the absolute surender required and extraordinary mercy received. This photo is the closest expression of that experience that I have found. A thousand thank yous. p.s. I showed this photo to one of the other women without saying anything and the first thing she said was "O my God, it makes me remember that journey!" We are both grateful beyond words for this image. It's a memory, a reminder and a celebration.
Phil Douglis12-May-2005 21:01
Thanks, Clara, for seeing the value in this image. I took a risk here -- the subject becomes quite obscure but that is exactly what makes it express meaning. She is, as you say, utterly helpless, humble, and grateful.This image took a lot of work to get, but it was worth the effort.
Guest 12-May-2005 18:26
A well solved photo technically given its difficulty, and very expressive of the feeling inside the woman, her intense state of prayer or dialogue with a higher power, her helplessness turned into worship. Great shot.
Phil Douglis29-Mar-2005 04:57
Thanks, Benchang, for this excellent interpretation. And yes, I generally underexpose my pictures, because I always use a spot meter. This prevents burnout, and often hides more detail in the shadows to increase the degree of abstraction. If I decide I want to restore those details, I can always bring them back by using the Shadow/Highlight Control in Photoshop. In digital photography, I find that underexposure is always preferable to over exposure. If an image is overexposed and details are burned out, they are gone forever. But if they are underexposed, they can always be restored.
Benchang Tang 29-Mar-2005 02:39
I really love the picture, because in my view the worshiper, blurred as is, is abstracted and impersonalized. Human being live in a chaotic world and the religion is thier good refuge and that is, in my rough understang, what the picture is telling us. I have a question,Phil, in this kind of linghting circumstanses do we under expose some?
Phil Douglis28-Feb-2005 23:59
This is one of those pictures that takes a bit more work to fully grasp. You are right. The blur is extreme. But so is her passion. There are a lot of elements in the picture -- the flowers, candles, purse, urn, incense, and altar. Then the tiles the soft background. All of it surrounding a moving figure. All of these elements are part of the story here -- Buddhist prayers are often accompanied by an accumulation of numerous offerings. I could have framed just the blurred figure, but instead chose to give it this context, which I feel successfully defines the mood and motion of such devotions. All images need not appeal. There is room for a messy image now and than that may lack aesthetic impact yet tell its story well. This well may be such an image.
monique jansen28-Feb-2005 12:27
At first glance I was not convinced by this shot - too blurred, too chaotic maybe, I am still not sure, there are elements I like in it, but on the whole it is not a picture that appeals to me so much.
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